Sentences with phrase «illusions of space on»

Cubism and its multiple viewpoints show how Art has now returned to a wall and Braque and Picasso's work show how they have now fractured space and how the importance of creating an illusion of space on a 2D surface was not a priority but instead it was the overall meaning and idea that is important.

Not exact matches

Other ones have to be designed in a 3D space, like the nine cubes, they were different illusions so we spent a lot of time on the computer figuring out that space and how everything had to exist.

In fact, some people test the space's safety by doing things they know will hurt people just to prove there is no safe haven on earth for anyone and that if we just give them one minute inside that space with these people, they will swiftly destroy their illusion of safety.

Turn it on, and you'll see an amazing optical illusion that will challenge your understanding of light and space.

Recently, Robert Lanza and Bob Berman published their second book on biocentrism, Beyond Biocentrism: Rethinking Time, Space, Consciousness, and the Illusion of Death.

The high - gloss finish on the vanity adds shine and durability to the piece, while the open shelving underneath gives the illusion of more space.

A third group created «Super Art Students,» which also is an art advocacy movie, and three third graders created «DEEP SPACE» to teach the concepts needed to create the illusion of depth on a picture plane.

On our Luxury test car, this joined forces with the optional panoramic roof to elevate the illusion of space and combat the deficit of glass area caused by the rising shoulder line.

This question took her down a rabbit hole of experiments with painting on and people and objects that led her to develop an optical illusion for turning three - dimensional spaces into what appeared to be two - dimensional paintings.

Another series from the late 1960s / early «70s was based on a system of building in tiers: polished aluminium sheet was formed into half circles, half squares, or cones, that were placed on mirror - polished bases «in order to push the space down through the floor or out through the wall, thus extending the forms by illusion».

The forms of the paintings themselves recall folding screens installed on their sides and bolted to the wall (and thus robbed of their function), though the impression of the hinged panels projecting into space is another illusion.

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Bspace between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BSpace, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

When spun on a record player they create the illusion of threedimensional space.

In other words, viewers no longer focus on an object atop a pedestal placed within the open space of a room as they do in regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a whole.

His recent series, the «Demo» projects are interventions in the public space that use some of the same characteristics as a theatre set to create playful, surreal, large - scale illusions captured on video and presented as short films.

The shaped paintings on view in this exhibition create illusions of space and depth, where planes may be perceived as simultaneously receding or projecting, allowing the viewer to journey both around and through the work.

FOMO at Friche Belle de Mai, Marseille Aldo Mondino: Rules for Illusion at Eden Eden, Berlin; Rules for Illusions, Part 2 at Galerie Isabella Bortolozzi, Berlin Bill Lynch at Tanya Leighton, Berlin Ametria at Benaki Museum, Athens Aleksandra Domanović at Art Space Pythagorion, Samos Fiamma Montezemolo at Maggazzino Arte Moderna, Roma Lofoten International Art Festival at Jern & Bygg, Svolvoer, Norway Under the Clouds: From Paranoia to the Digital Sublime at Serralves Museum of Contemporary Art, Porto Here We LTTR at Tensta Konsthall, Stockholm Variations on «An Andalusian Dog» at X-ist, Istanbul Europe: The Future of History at Kunsthaus Zürich Jennet Thomas at Grundy Art Gallery, Blackpool No Shadows in Hell at Pilar Corrias, London Parallel Oaxaca at Supplement, London e-studio Luanda at Tiwani Contemporary, London Magali Reus at The Calder, Hepworth Wakefield Beatrice Gibson at Collective, Edinburgh Tony Lewis at Shane Campbell Gallery, Chicago Drew Heitzler at Blum & Poe, Los Angeles Madison East: Elbow Room in Paradise; Quintessa Matranga: Peasant, at Chin's Push, Los Angeles Eirik Sæther at Jenny's @ 47 Canal, New York Nikolay Bakharev at Julie Saul Gallery, New York Yoko Ono at MoMA, New York JJ PEET at On Stellar Rays, New York Objects Food Rooms at Tanya Bonakdar Gallery, New York Stewart Uoo at Mendes Wood DM, São Paulo Portia Zvavahera at Stevenson, Cape Town Dor Guez at Centre for Contemporary Art, Tel Avon «An Andalusian Dog» at X-ist, Istanbul Europe: The Future of History at Kunsthaus Zürich Jennet Thomas at Grundy Art Gallery, Blackpool No Shadows in Hell at Pilar Corrias, London Parallel Oaxaca at Supplement, London e-studio Luanda at Tiwani Contemporary, London Magali Reus at The Calder, Hepworth Wakefield Beatrice Gibson at Collective, Edinburgh Tony Lewis at Shane Campbell Gallery, Chicago Drew Heitzler at Blum & Poe, Los Angeles Madison East: Elbow Room in Paradise; Quintessa Matranga: Peasant, at Chin's Push, Los Angeles Eirik Sæther at Jenny's @ 47 Canal, New York Nikolay Bakharev at Julie Saul Gallery, New York Yoko Ono at MoMA, New York JJ PEET at On Stellar Rays, New York Objects Food Rooms at Tanya Bonakdar Gallery, New York Stewart Uoo at Mendes Wood DM, São Paulo Portia Zvavahera at Stevenson, Cape Town Dor Guez at Centre for Contemporary Art, Tel AvOn Stellar Rays, New York Objects Food Rooms at Tanya Bonakdar Gallery, New York Stewart Uoo at Mendes Wood DM, São Paulo Portia Zvavahera at Stevenson, Cape Town Dor Guez at Centre for Contemporary Art, Tel Aviv

Occupying a space between sculpture, cinema and drawing, his work's historical importance has been internationally recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964 - 77 at the Whitney Museum of American Art, New York (2001 - 2); The Expanded Screen: Actions and Installations of the Sixties and Seventies at the Museum Moderner Kunst, Vienna, Austria (2003 - 4); The Expanded Eye at the Kunsthaus Zurich, Switzerland (2006); Beyond Cinema: the Art of Projection at Hamburger Bahnhof, Berlin, Germany (2006 - 7); The Cinema Effect: Illusion, Reality and the Projected Image at the Hirshhorn Museum, Washington, DC (2008); The Geometry of Motion 1920s / 1970s at the Museum of Modern Art, New York (2008); and On Line at the Museum of Modern Art, New York (2010 - 11).

The co-director of Minus Space, Deleget has never been particularly interested in traditional painting approaches such as wet - on - wet and glazing, color mixing, or other techniques that create the illusion of three dimensionality.

The artists whose work principally addresses painterly issues — Emily Berger, Hovey Brock, and Karen Nielsen - Fried — all rely to a greater or lesser degree on the illusion of space to move the viewer's experience of color in their work beyond the simply decorative.

Digitally rendered and printed on vinyl, Friedhard Kiekeben's installation creates the illusion of space and expanded scale through the use of abstract marks and repetition.

The works on view use color, touch, music, spectacle, light, and darkness to confound expectations, flattening space through animation and abstraction, or heightening the illusion of three dimensions.

His work is characterized by a resemblance to computer - generated works on paper that give the illusion of warps in the fabric of space - time.

Other works in the exhibition include wall pieces and a gridded platform on the floor making use of two - way mirrors to create the illusion of fragmentary architectural structures repeating and receding into infinite space.

Miniature painting, with its flat, stylized forms, stands in opposition to newly introduced European perspective, with its emphasis on individuality and the illusion of space.

On the other hand, a painting offers the possibility of a three - dimensional experience, the illusion of moving into space and discovering form.

The gallery explains: «Drawing slanted lines on the front, sides, and bottom of the given space, Park completed an illusion as if the walls were skewed or the floor was rising up.

Group Exhibitions 2018 Stretch / Pulled / Inked, Impact Arts, as part of the Glasgow International, Glasgow (upcoming) Glasshouse, Glasgow Botanic Gardens, Glasgow (upcoming) 2017 Amazing Perplexity, Curated by Nathalie Hoyos, Rainald Schumacher and Alevtina Kakhidze, Residents Group Exhibition of FACE — Artist Residence Program in Kiev 2016 Factually Real Illusions, curated by Lorna McDowell, Cookhouse Gallery Chelsea College of Art, London Semi-Gloss, Semi-Permeable, Glasgow International Festival 2015 International Women's Contemporary Art Forum — A Crossing Section of Art, BankART Studio NYK, Yokohama Finite Project Altered When Open, David Dale Gallery, Glasgow Abstraction from Architecture, Edinburgh Print Studio Hold, Sway, Generator Projects, Dundee 2013 Editionshow, Chert, Berlin You're my wife now, Infernoesque project space, Berlin Every Day, GoMA, Gallery of Modern Art, Glasgow 2012 Tintenfisch, CNEAI =, Paris, organized by Chert & Motto in the frame of Berlin - Paris exchange 2011 Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City University of New York Annuale, Edinburgh 2010 Drinnen & Draussen, Chert, Berlin A man, some chickens and one corner, with Petrit Halilaj and Heike Kabisch, Berlin — Paris exchange, Galerie Carlos Cardenas, Paris, with Chert, Berlin 2009 Spacioux, curated by Michela Arfiero, Paola Gallio, Daniela Lotta, Lambretto Art Project, Milan Motto & Chert & Roses, Tulips & Roses, Vilnius 2008 You can't hide your love forever, LH Gallery, Paris And So It Goes, Art news Projects, Berlin MFA Degree Show, Tramway, Glasgow Flock, Bezalel Gallery, Tel Aviv 2007 MFA Interim show, Glasgow School of Art, Glasgow Devil Blue Dress, The Factory, Impact Arts, Glasgow 2005 Tercet, Intermedia, King Street, Glasgow 2004 Pieces, The Factory, Impact Arts, Glasgow

The focal point is the small compressed image in front of you; the illusion of space from the image stays on it.

Deftly creating dynamic illusions of depth and space on a two - dimensional surface, Grotjhan makes reference to various points in the history of painting, from Renaissance linear perspective, to the utopian shapes and visions of early 20th century Russian Constructivism, to the hallucinatory images of 1960s Op Art.

The mind should get rid of the feeling that it alone must change while being can not change; the mind will train itself to vary being rather than varying itself, the mind will train itself to move through a space in which being is variable and never anything but a hypothesis, the mind will practice using its ability to provide its own fulcrums wherever it wishes, it will learn to rely on illusion, to create the ground on which it walks.

The structure of Craycroft's installation borrows from early stop - motion animation techniques like the 20th century setback camera, which gave the illusion of forms moving through real space by filming animation cells on a horizontal glass plane placed in front of a miniature forced perspective set.

Standing inside on a small platform, an observer sees light repeatedly reflected off the mirrored surfaces to create the illusion of a never - ending space.

Students learn to use light to create the illusion of form in an atmospheric space on a two - dimensional surface.

Coloured patterned tessellations that are on the surface of the material suggest other spaces, angles, and areas of illusion.

Often insisting on the integrity of acrylic hues, he rarely mixes more than three colors at once, frequently overlaying his marks to create the illusion of three - dimensional space.

The selection of works on display features vibrantly stained canvases that create an illusion of 3D structures floating in space.

Klamen's multi-canvas installation, «Meta - Paintings» (2016), elaborates on this concept by presenting well - known works of art in a re-contextualized space, highlighting the deception of each image through masterful illusion and imagination.

Mokha Laget's new work creates illusions of 3D structures floating in space Mokha Laget is excited about the direction her work has taken this year and thrilled to be showing her latest shaped paintings at David Richard Gallery in the show «In Shape, In Color,» which opens on September 8.

Pierre Soulages, Nicolas de Staël and Hans Hartung taught him that an illusion of space existed within the materiality of a painting's surface, something dismissed by previous abstract artists who focused on flatness.

Challenging and reinventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

The qualities and intentions attributed to Denny's paintings, of an interactive dialogue between the observer's perception of quotidian architectural space within which they meet the painting and the spatial illusions created by the paintings themselves — are actually qualities Denny had imbibed from Barnett Newman, in his paintings and his professed intentions (amongst other qualities)-- and so, to denigrate Newman's (and Rothko's) as subjective, «private» visions is completely unwarranted, but it chimes with Bunker's wish to portray «publicly engaged» art as somehow an advance on «high modernist» subjectivity.

And the illusion of a 3D space on a 2D surface.

Being a Borg collective cult of AGW groupthink space cadet on the other hand means never having to question your assumptions — feeling supreme overconfidence that only the Borg collective can bring — having complete faith in your moral and intellectual superiority — self censoring doubts and uncertainties — indulging in the illusion of unanimity and kowtowing to self appointed mind guards.

And of course I picked the spot with empty spaces on either side to add to the illusion of safety.

That means that virtual objects are truly «there» when placed in real world physical space, and the illusion of reality that Roomscale VR creates within a headset is recreated on your phone's screen.

When it comes to saving space on your entertainment center, moving your console so that it is standing is a solid choice that can help to give the illusion of decluttering.